This series is made to explore the possibilities of human distinction and how gestures could create a whole new dimension of figurative description and character interpretation. The reiteration of the same thing over and over leads to an evolution of meaning and create an emotional complexity beyond what is seen.
Dance in the nights
Seasons in a body
Title originating from a serenade written by Henry Blossom; its lyrics depict the singer awakened to a longing for her lover as the world slumbers and slips away. While the cuddling figures appear in the painting, distinction between reality and fantasy is vague. By appropriating the poetry and exchanging with it her personal memories and experiences, the artist arrives at her own expression of grief that makes this image.
Followed right after "Moonbeams", this painting is done in response to the explosion of joy and abundance portrayed in a Psalm from the Bible. Ps104 encapsulates the essence of invincible joy as the landscape itself breaks forth into vibrant worship. The goal is to animate every inanimate object so as to convey the sensation of omnipresent exuberance.
Two unacquainted models posed in a domestic set up. Awkward and irrelevant conversations that skirt outside its context become a humor central to this painting's peculiar tension disguised as ease and comfort.
Sea of yellow
Proin facilisis elit vitae mollis faucibus. Proin vitae massa nec mauris dictum consequat. Maecenas congue non felis a malesuada. Phasellus ullamcorper laoreet felis eu viverra. In at tincidunt tortor. Praesent tempor eros vitae elit dignissim, vitae elementum dui dapibus. Duis tristique, ligula eget lobortis accumsan, nibh enim venenatis urna, a commodo elit ex ac urna.
Shiro Oni Residency 2017
Rock Painting (middle piece)
Created in conjunction to the Rocks, it is a work that precedes the transcription of actual rocks into a two-dimensional motif and then reusing the rocks to create a wall painting. The shared channel of two works speak of the transient passage between volumetric space and planar space.
Sprayed over the rocks laid on a mat and created a silhouette— “Rocks” allude to the interchangeable nature of two worlds that occupy in surface and mass, where one exists on the basis of another. The absence of rocks is also suggested by the presence of their ghost imprints.
A collaborative effort between myself and several other artists in residence- they are assigned a slot to make marks on without further instructions. This is an attempt to assign narratives and appropriate their experiences into my own, bringing to question what the ownership of art is, as well as whether our inevitably informed autobiography is being authentic and truthful.
A drawing painted from beneath a screen— then using the gridlines as a system, spaces are carved out and replaced on other parts of the composition. While this exercise aimed to disrupt and alter the already established visual space, it also sought to enable the voids a power to exist as its own entity.
A wire casting of my body, as it watches the world unfold before its eyes. It ties together the narrative of Shedding as I metaphorically transform into a carcass as a byproduct of growth.
A self-portrait created in response to the search of one’s voice in an estranged culture and the frailty of all human belief systems. Using the plastic materials to mimic the skin of a human body, it sheds light to the duality of life and death of a formed identity. As one bias peels off through the act of unlearning, a new perception regenerates to stand in place of that uncertainty. This is an attempt to create a psychological space that could be navigated physically, allowing the audience to meditate and have a dialogue with themselves.